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Illinois Classical Studies UNIVERSITY OF ILLINOIS LIBRARY AT URBAIMA-CHANIPAIGN CLASSICS I Library Materials! The « The person charging this material is responsible for its return to the library from which it was withdrawn on or before the Latest Date stamped below. Theft, mutilation, and underilning of books are reasons for discipli- nary action and may result in dismissal from the University. To renew call Telephone Center, 333-8400 UNIVERSITY OF ILLINOIS LIBRARY AT URBANA-CHAMPAIGN tMuMC/^ ISSN 0363-1923 ILLINOIS ss-f-i^ CLASSICAL STUDIES VOLUME XXIII 1998 ILLINOIS CLASSICAL STUDIES VOLUME XXIII 1998 Stipes Publishing L.L.C. ISSN 0363-1923 ©2000 The Board of Trustees University of Illinois Published by Stipes Publishing L.L.C. 204 West University Avenue Champaign, Illinois 61820 Printed in the U. S. A. EDITOR David Sansone ADVISORY EDITORIAL COMMITTEE Gerald M. Browne Gregory Hays William M. Calder III Maryline G. Parca James A. Dengate Miriam R. P. Pittenger CAMERA-READY COPY PRODUCED UNDER THE DIRECTION OF MARY ELLEN FRYER Illinois Classical Studies is published annually by Stipes Publishing L.L.C. Camera-ready copy is edited and produced in the Department of the Classics, University of Illinois at Urbana-Champaign. Each contributor receives fifty offprints free of charge. Contributions should be addressed to: The Editor, Illinois Classical Studies Department of the Classics 4090 Foreign Languages Building 707 South Mathews Avenue Urbana, Illinois 61801 Contents 1. Recognizing Helen TIMOTHY W. BOYD, State University of New York at Buffalo 2. Sophocles' Ajax and Homer's Hector: Two Soliloquies MARK S. FARMER, Loyola University Chicago 3. Words into Verse: The Localization of Some Metrical Word-Types in the Iambic Trimeter of Sophocles HELMA DIK, University of Chicago 4. "True Justice" in the Republic GABRIEL DANZIG, Bar Ilan University 5. lambe/Iambos and the Rape of a Genre: A Horatian Sidelight J. KEVIN NEWMAN, University of Illinois at Urbana-Champaign 6. Ad Themistium Arabum II GERALD M. BROWNE, University of Illinois at Urbana-Champaign 7. Varia Fulgentiana GREGORY HAYS, The University of Virginia 8. Two Notes on the Canterbury Biblical Commentaries GERALD M. BROWNE, University of Illinois at Urbana-Champaign 9. Quomodo auctor Psalterii Vercellensis Bedae Collectione Psalterii usus sit GERALD M. BROWNE, Urbana, Illinois 1 Recognizing Helen i TIMOTHY W. BOYD In Book 4 of the Odyssey, Helen and Menelaus, now home again in Sparta, are entertaining Telemachus, the son of Odysseus. Along with their hospitality, they each offer an anecdote about Odysseus as they saw him in a moment of great stress at Troy. These anecdotes have been the subject of much scholarly speculation, not only about their content, but also about the behavior of the tellers. Froma Zeitlin, for example, sees each of the stories as having two levels. In the upper, they are "tales from the past that seems to have been forgiven, transmuted into a play of symmetrical reversals that charm instead of dismay." In the lower level, they are about Helen as the embodiment of fiction itself. In a less theoretical vein, Douglas Olson concentrates upon the possible function of the stories within the greater narrative, suggesting that the anecdotes "prepare us for what is to come many books later, in another household, between another couple." Another interpretation, that of Charles Rowan Beye, is that these are stories both about a missing hero and about Helen's loyalty—or lack of it.^ That there are so many differing interpretations of these two stories is not surprising. On the surface, they are what they purport to be: tales of Odysseus, told to his son, Telemachus. Just below that surface, however, they do appear to be about something else. Helen's story, for example. My thanks to the following people for their assistance in creating this essay: Carolyn Higbie, Gregory Nagy, Victor Ortiz, David Sansone, and the readers at ICS. Thanks as well to the Center for Hellenic Studies, its directors, Kurt Raaflaub and Deborah Boedeker, and the fellows for 1998-1999, ^ See F. I. Zeitlin, "Travesties of Gender and Genre," in H. P. Foley (ed.). Reflections of Women in Antiquity (New York 1981) 203-05; S. D. Olson, "The Stories of Helen and Menelaus (Odyssey 4, 240-89) and the Return of Odysseus," AJP 1 10 (1989) 387-94; C. R. Beye, Ancient Epic Poetry: Homer. Apollonius. Virgil (1969; repr. Ithaca 1993) 161. Sheila Mumaghan would understand the scene as providing Telemachus with a model for enduring loss: S. Murnaghan, Disguise and Recognition in the Odyssey (Princeton 1987) 161-62 n. 23. M. A. Katz, in Penelope's Renown (Princeton 1991) 192. suggests that the stories of Helen "refocus the question of Penelope's fidelity around remarriage rather than betrayal." For a very different view, see Victoria Wohl, who presents the two stories as a dramatizing of the "problem of the essentially indeterminate and undeterminable quality of (female) speech or creativity," in "Standing by the Stathmos: The Creation of Sexual Ideology in the Odvssey," Arethusa 26 ( 1993) 19-50, specifically 32-35. 2 Illinois Classical Studies 23 (1998) opens with Odysseus entering the city on a spying mission. To do so, he had changed shape, Helen says {Od. 4. 244-50), but, for all of Odysseus' masterly disguise, Helen tells Telemachus that she herself was never taken in (4. 250-56). She explains that Odysseus' subsequent spying was a success (4. 257-58), and concludes by stating that she was experiencing at that time a change of heart and had begun to wish for a return to her husband and family (4. 259-64). Thus, a story whose initial focus is on Odysseus and his cleverness quickly becomes a story about Helen and her cleverness, as well as about her (self-described) shift in loyalties. Rather than comment upon his wife's story, Menelaus uses a variation of a formula familiar to us as the response commonly made to Nestor in the Iliad (Od. 4. 266): vai 5fi xauxd ye Tictvxa, yijvai, Kaxa noipav eeiTieq ("yes, indeed, wife, you've told everything in a fitting fashion"). In Homeric verse, this is always a polite answer, but also commonly the signal that, whatever has just been said will be put aside immediately after its saying. Menelaus, therefore, makes no direct comment on Helen's story, but proceeds to tell his own tale instead. Like Helen's, Menelaus' story offers Telemachus an example of his father's quick wits and courage. Also like Helen's, it begins by being about Odysseus, but quickly becomes a story about Odysseus—and Helen. When the Greeks are hiding in the wooden horse (4. 271-74), Helen and her current husband, Deiphobus, appear and Helen attempts to smoke the Greeks out of the horse by calling to them in the voices of their wives (4. 274-79). The Greeks, including Menelaus, are seduced and are about to reply when Odysseus hushes them and Helen leaves, drawn away by Athena (4. 280-89). Although not a direct comment, this could easily be understood as Menelaus' response to the previous story and to the behavior of its teller. Instead of a Helen whose longing for home spurs her to aid the courageous and cunning Odysseus, we are presented with a Helen who replaces one Trojan husband with another and who is no more loyal than she was when she eloped with Paris years before. Thus, when it comes to the interpretation of this scene, it would not be difficult to maintain that, at the least, Helen's story functions both as an encomium for Odysseus and as a piece of self-justification, and that Menelaus' story acts as a mini-praise-poem for Telemachus' father as well as a criticism of Helen in Troy. Without disagreeing with this or with the wealth of other interpretations, I would suggest that we might approach this pattern of story-counterstory from a new direction, focusing not upon Helen and Menelaus, as has often been the approach, but upon the two main characters within the stories, Helen and Odys,seus. By doing so, I believe that we may add new facets not only to our understanding of this trading of stories, but of Helen and Odysseus, of Helen in comparison with other female characters in the Odyssey, and, perhaps most important, of the real power of Helen in the story of Troy. Timothy W. Boyd 3 As she seems to dominate the scene, let us begin with Helen. In her story, Helen lays particular emphasis upon the contrast between the Odysseus one might encounter among the ships and the spy who slips into Troy. To become the latter, Odysseus takes special care, not only to wear the right clothes, but even to disfigure himself by giving himself the marks of the kind of beating which one would expect on the body of an unruly slave. ^ The hero who is a mainstay of the Achaean army has become "Nobody" for the first time—and yet Helen recognizes him at once and it is at this point in the story that the emphasis has changed from Odysseus to Helen. At first glance, one might understand this change as a part of Helen's attempt to show herself in the best light possible. For those in Sparta who question her loyalty, this is a reply; "Odysseus was the enemy, but, though I might still have been in Troy, I was now so friendly to the Achaean cause that I sheltered an Achaean spy." If this were completely true, however, what do we make of the fact that she compromises that spy, first by identifying him and then by bathing and clothing him, thereby removing the very disguise he had assumed to spy on Troy? Further, Helen implies that, somehow, she then aided Odysseus in his reconnaisance.
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